Free as Air

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Free as Air: A West End Island Escape

"Free as Air" premiered at London’s Savoy Theatre in the West End on June 6, 1957, offering a breezy musical comedy that ran for 417 performances until mid-1958. With music by Julian Slade and book and lyrics by Slade and Dorothy Reynolds, this follow-up to their hit "Salad Days" was directed by Denis Carey and produced by Linnet and Dunfee Ltd. Set on the fictional Channel Island of Terhou, it follows Geraldine, a runaway heiress fleeing a suitor and the press, who finds refuge among quirky islanders crowning her their May Queen. Starring Patricia Bredin as Geraldine and Gerald Harper as Albert, the show’s whimsical charm and Slade’s melodic score made it a delightful, if lesser-known, gem of 1950s West End theater.

Origins and Creative Breeze

The musical sprang from Slade and Reynolds’ success with "Salad Days," which was still packing the Vaudeville Theatre when "Free as Air" was born. Conceived as a lighter, sunnier tale, it debuted at Manchester’s Opera House in May 1957 before its West End transfer. Slade’s score leaned on his knack for catchy, heartfelt tunes, while Reynolds co-wrote a book blending romance and gentle satire. The story of Terhou a tiny, map-edge isle untouched by tourism offered a nostalgic nod to simpler times, with Geraldine’s adoption by the islanders echoing a fairy-tale escape. Carey’s direction kept the tone playful, cementing its appeal as a post-war pick-me-up.

The West End Production

Opening at the Savoy Theatre, "Free as Air" starred Bredin as Geraldine, a wealthy fugitive finding love with Albert, played by Harper, amid island antics. The cast included Gillian Lewis as Molly, John Trevor as Mr. Potter, and Josephine Tewson as Miss Catamole, with Slade himself on piano for the cast recording’s overture. The plot spins as Geraldine flees Jack Amersham and reporter Ivy Crush, only for her peace to unravel when they crash Terhou’s shores. Its 417-performance run drew steady crowds, buoyed by its charm and a Top 10 cast album, though it never matched "Salad Days"’ record-breaking 2,329 shows, closing amid a shifting theatrical landscape.

Musical and Theatrical Highlights

Slade’s score shines with numbers like "Free as Air," a rousing ensemble anthem, and "Nothing But Sea and Sky," Geraldine’s soaring ballad of liberation. "Her Mummy Doesn’t Like Me Anymore" brings Jack’s comic swagger, while "We’re Holding Hands" offers a tender duet for Miss Catamole and Potter. "A Man From the Mainland" pulses with islander excitement, and "Let the Grass Grow" closes with pastoral ease. The Savoy’s staging leaned on simple sets cut-outs suggesting Terhou’s well and shores letting the music and ensemble’s verve, including Bredin’s luminous voice, carry the day. Bonus tracks on the CD, like Slade’s Cambridge-era "Doh Reh Me," nod to its roots.

Revivals and Lasting Notes

Post-1958, "Free as Air" saw a 2014 Finborough Theatre revival, directed by Stewart Nicholls, spotlighting its melodic merits with Charlotte Baptie as Geraldine. Amateur stagings persist via Concord Theatricals, and its original cast recording, reissued by Sepia Records with Slade’s piano intros, keeps its sound alive. No Broadway run emerged, but its UK tour post-Savoy and niche appeal endure, echoing its Bristol Old Vic ties where Slade penned early works like "Christmas in King Street." The 2014 revival drew praise for its sincerity, though it remains a quieter echo of Slade’s canon, cherished by musical theater buffs.

Legacy and Cultural Air

"Free as Air" carved a gentle niche in West End history, its 417 performances a solid hit that outshone many 1950s peers, if dwarfed by "Salad Days." Launched in an era of post-war optimism, it offered a whimsical retreat Terhou’s isolation a balm for a modernizing Britain. Critics lauded its “simplicity and charm,” per Musical Theatre Review, while its Top 10 album fueled sheet music sales. Less groundbreaking than "Oliver!" or "My Fair Lady," it still shaped light musical comedy, its island idyll a precursor to later escapist fare. As of March 2025, its legacy hums in recordings and rare stagings a breezy, melodic whisper of 1950s West End joy.